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La città di celluloide
UPPLEMENTI tra vocazione turistica
ed esperienze creative
04
S
IL CAPITALE CULTURALE
Studies on the Value of Cultural Heritage
JOURNAL OF THE SECTION OF CULTURAL HERITAGE
Department of Education, Cultural Heritage and Tourism
University of MacerataIl Capitale culturale Marazzi, Fabio Mariano, Aldo M. Morace,
Studies on the Value of Cultural Heritage Raffaella Morselli, Olena Motuzenko, Giuliano
Supplementi 4, 2016 Pinto, Marco Pizzo, Edouard Pommier, Carlo
Pongetti, Adriano Prosperi, Angelo R. Pupino,
ISSN 2039-2362 (online) Bernardino Quattrociocchi, Mauro Renna,
ISBN 978-88-6056-466-5 Orietta Rossi Pinelli, Roberto Sani, Girolamo
Sciullo, Mislav Simunic, Simonetta Stopponi,
© 2016 eum edizioni università di macerata Michele Tamma, Frank Vermeulen, Stefano
Registrazione al Roc n. 735551 del 14/12/2010 Vitali
Direttore Web
Massimo Montella http://riviste.unimc.it/index.php/cap-cult
e-mail
Coordinatore editoriale icc@unimc.it
Francesca Coltrinari
Editore
Coordinatore tecnico eum edizioni università di macerata, Centro
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Macerata
Comitato editoriale tel (39) 733 258 6081
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Francesco Pirani, Mauro Saracco, Emanuela
Stortoni Layout editor
Cinzia De Santis
Comitato scientifico - Sezione di beni culturali
Giuseppe Capriotti, Mara Cerquetti, Francesca Progetto grafico
Coltrinari, Patrizia Dragoni, Pierluigi Feliciati, +crocevia / studio grafico
Maria Teresa Gigliozzi, Valeria Merola,
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Umberto Moscatelli, Sabina Pavone, Francesco
Pirani, Mauro Saracco, Michela Scolaro,
Emanuela Stortoni, Federico Valacchi, Carmen
Vitale
Comitato scientifico
Michela Addis, Tommy D. Andersson, Alberto
Mario Banti, Carla Barbati, Sergio Barile, Rivista accreditata AIDEA
Nadia Barrella, Marisa Borraccini, Rossella
Rivista riconosciuta CUNSTA
Caffo, Ileana Chirassi Colombo, Rosanna
Cioffi, Caterina Cirelli, Alan Clarke, Claudine Rivista riconosciuta SISMED
Cohen, Gian Luigi Corinto, Lucia Corrain, Rivista indicizzata WOS
Giuseppe Cruciani, Girolamo Cusimano,
Fiorella Dallari, Stefano Della Torre, Maria
del Mar Gonzalez Chacon, Maurizio De Vita,
Michela Di Macco, Fabio Donato, Rolando
Dondarini, Andrea Emiliani, Gaetano Maria
Golinelli, Xavier Greffe, Alberto Grohmann,
Susan Hazan, Joel Heuillon, Emanuele
Invernizzi, Lutz Klinkhammer, FedericoAlla mia Maestra
La città di celluloide tra vocazione
turistica ed esperienze creative
Atti della giornata di studio (Macerata, 26
marzo 2015)*
a cura di Enrico Nicosia
* Tutti i contributi di questo volume sono stati sottoposti ad una revisione tra pari (Peer
Review) basata su una iniziale selezione da parte del Comitato Scientifico della Giornata di studio
e su una successiva valutazione da parte di due revisori anonimi.Contributi introduttivi
«Il capitale culturale», Supplementi O4 (2016), pp. 29-65
ISSN 2039-2362 (online); ISBN 978-88-6056-466-5
DOI: http://dx.doi.org/10.13138/2039-2362/1410
© 2016 eum
A Film Production Tourism ‘Club
di Prodotto’ to enhance territory
competitiveness and cultural
identity. ‘I Sassi di Matera’, a
strategic niche in a global market*
Francesco Citarella**,
Francesca Sorrentini***
Abstract
The first section of our study pivots on the theory that a Club di Prodotto (CdP), by
promoting a unique tourist package in terms of territory specifics, constitutes an excellent
opportunity for creating tout court, tourist destinations (as opposed to mere resorts). In
* Sections 1-5 are the work of Francesco Citarella, while sections 6-10 are the work of Francesca
Sorrentini.
** Francesco Citarella, Full Professor of Macroeconomics and the Global Tourism Market,
Scientific Coordinator of OPSAT (Observatory for Sustainable Development and Territory
Planning), University of Salerno, Faculty of Economics, Department of Information and Electrical
Engineering and Applied Mathematics (DIEM), via Giovanni Paolo II, 132, 84084 Fisciano
(Salerno), e-mail: f.citarella@unisa.it.
*** Francesca Sorrentini, Researcher in Economic Geography and Tourism, University of
Naples “Federico II”, Department of Economic Sciences and Statistics, via Cinthia, 26 (Monte
Sant’Angelo), 80126 Napoli, e-mail: sorrenti@unina.it.30 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
particular, the Film Production Tourism CdP represents a common denominator in the
process of expanding tourist initiatives and local development given that tourism and
accessory activities concur in creating socio-economic growth and enhanced quality of life.
In short, the close relation between the private nature of the CdP association and the public
sphere guarantees an innovative offer based on systemic and synergic scale intervention.
The second section of our research analyzes the links between the Lucan region territory,
film production tourism and initiatives required for local development. In this context, the
area of ‘I Sassi di Matera’ for example, by virtue of its natural and cultural resources, is
privileged by many film producers as a setting for their films. Our analysis has highlighted
that planning and coordinated initiatives are essential for creating destinations that derive
long term benefits from such policies. Moreover, by virtue of its relevant methodology, the
advantages stemming from the creation of a Film Production Tourism CdP i.e. a distinct,
integrated offer with a focus on potential strong points and uniqueness, would undoubtedly
promote the image of Basilicata Region and its geographical specifics in order to respond to
growing demand.
L’intento della prima parte dello studio di ricerca è sostenere la tesi che il Club di
Prodotto (CdP), promuovendo un pacchetto d'offerta unico nel suo genere e coerente
con le peculiarità territoriali, costituisce un'opportunità che le realtà a vocazione turistica
dovrebbero cogliere per differenziarsi e proporsi quale destinazione piuttosto che località.
In particolare, il CdP Cineturismo rappresenta il comune denominatore tra gli obiettivi di
espansione delle iniziative turistiche e quelli di sviluppo locale, poiché l'offerta del comparto
e le attività indotte concorrono alla crescita socio-economica e al miglioramento della
qualità del vivere ricercata. In sintesi, emerge la stretta relazione tra il carattere privatistico
del raggruppamento e la sfera pubblica per implementare un'offerta innovativa, strutturata
sul set di azioni, dal carattere sistemico e sinergico.
La seconda parte dello studio di ricerca valuta i legami tra le caratteristiche del territorio
lucano e il Cineturismo e le azioni per contribuire alla diffusione dello sviluppo locale, in
particolare dei Sassi di Matera per le sue risorse naturali e culturali, che sono alla base delle
scelte dei produttori cinematografici. L’analisi ha evidenziato la necessità di attuare interventi
coordinati e pianificati, al fine di creare una destinazione che possa beneficiare a lungo degli
effetti positivi generati dalla divulgazione dei filmati. Sulla base della metodologia esposta,
notevoli sono i vantaggi derivanti dall’istituzione del CdP Cineturismo per promuovere
l’immagine della Basilicata e delle sue specificità geografiche e per rispondere alle accresciute
e diversificate esigenze della domanda, predisponendo un’offerta distintiva integrata,
focalizzata sui punti di forza e di unicità.
1. Introduction
Tourism, complex, crosscutting and with a sharp impact on economic,
social and leisure time issues is a decisive opportunity for growth in Italy
notwithstanding the effects of the global crisis. The many facets of tourism
including the satisfying of tourist demand and the wide array of economicA FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 31
variables, renders this segment of goods, services and personal experiences1
an extremely structured sector. Consequently if territorial vocation is a tool
by means of which stakeholders can plan and devise optimal models of
enhancement, analyses of the geographical specifics of an area are useful to
identify the potential of the destinations and to define policies of development
and growth, given that competitiveness is determined by material (infrastructure)
and immaterial resources (synergies between networks of tourism enterprise,
local culture and the growth of collateral industries).
The paradigm of contemporary tourism maps areas seemingly lacking in
clear identity, a global village i.e. destinations bereft of any complicity between
traveller and place, in other words, the stereotype of mass flows. This results
in uniformity as concerns relations, emotions and experiences with the global
village tending to distance itself from the opportunities of self awareness or self
discovery. At the same time, a holiday is the opportunity for acquiring knowledge
about new cultures, creating relations and encountering other lifestyles and
environments, e.g. visiting destinations after seeing them in television fiction
programmes or films. In particular, relations created as a result of the mix of
films, tourism and territory enable the conveying of a place’s historical memory
and cultural identity from generation in generation, promote the beauty
of its landscapes and scenery and enhance and communicate the historico-
architectural characteristics of its buildings and prestigious monuments.
Consequently, growth processes are triggered and the quality of life of the local
residents is improved by virtue of strategic goals, set on the regeneration and
recovery of tangible and intangible values intrinsic to the tourism supply chain2.
In a global scenario, the success of an enterprise or a destination lies
in the strategic combination of the numerous factors tourists take into
account. Narrowing distances, i.e. access to once remote places, becomes an
opportunity for creating offers based on the assets making up the identity or
milieu of a territory in terms of the intrinsic potential of diversification from
predominant cultural models at global scale. However, unique attractions
and the transformation of locations used as film or television fiction settings
into tourist destinations does not necessarily imply a competitive capacity of
the place, given that certain resources are marketable only in the short term
unless integrated and enhanced by the distinctive elements that define a tourist
product as a superb destination (shared objectives, value system, desired
destination, packaging, distribution and marketing, image and communication
etc.). Consequently, quality performance, impacting positively on the territory,
increments tourist destination attractiveness. In other words, putting in place
1 Candela 2010, p. 21.
2 In short, prerogatives linked to film production tourism i.e. transforming the scenes of a
film set of a specific geographical context into a destination, the main push factors (i.e. perceived
needs leading to demand for specific goods) interact with the pull factors constituent of the offer
presented.32 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
targeted strategies in selected markets or niche segments results in competitive
advantage, responding to the complexity and specifics of demand for special
destinations and accentuates consumer perception of differentiation. At the
same time, head-on contrast with competitors is also avoided.
2. Film production tourism, a strategic niche in the competitive global
market
Notwithstanding the recession, cultural tourism in Europe which accounts
for nearly 40% of EU tourist flows in 2014, has produced, together with the
creative industry3, employment and innovation to the extent that the Council
of Europe, with its Programme ‘European Cultural Itineraries’ has selected
29 theme, religious and spiritual itineraries for enhancement by virtue of the
capacity that films and TV productions have for fostering visibility in various
geographical scenarios4. Consequently, with the EU 2014-2020 Programme,
opportunities and challenges await the cultural and creative sector in terms
of heritage management, the future of the audiovisual sector, the launching
of the single digital market and funding for cultural tourism. The EU Council
of Ministers of Culture has also defined a series of priorities for 2015-2018,
to encourage synergies between tourism and culture to develop competitive
advantage in local communities from cultural heritage and cultural-creative
sectors and the promotion of cultural diversity and external relations, films,
tourism, mobility and intercultural dialogue.
Given that in the European perspective, film tourism has a concurring role in
territory enhancement and the spreading of cultural content, specific interests and
a more sophisticated kind of tourism experience (stays in locations utilized as film
and television production settings, farms, farm houses and ancient castles), food
tasting (agrifood products) sessions, enjoying cultural resources or productions
on a limited scale for more discerning tourists, is tantamount to more responsible
enjoyment of collective goods, attributing them the label of sustainable
tourism, niche segments that create customer loyalty and strengthen host-guest
3 Various countries have staked on their respective cultural industries, given the considerable
advantages ensured in terms of spill-over effects on employment, cultural heritage, consumer
interests, economic growth, exports and tourism. In the case of film tourism other ripple effects
(benefit marketing, merchandising and branding), as well as fostering cultural diversity and greater
awareness of national and European identity (See Fondazione Symbola, Unioncamere, 2015).
4 Besides Creative Europe, programmes coordinated independently (Erasmus+, Horizon 2020,
Cosme) and those coordinated at national and regional scale, considerable resources have been
allocated for culture, creativity, the audiovisual sector and education. However, as concerns cultural
tourism, financial support is concentrated on projects and services for cultural and industrial
itineraries.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 33
relations5. In this respect, film production tourism linked to specific demand is
of great interest. The segment requires targeted planning and organization and
reponsibility by operators in terms of sharing with consumers the relative passion
and knowhow associated with unique, stimulating experiences6, rather than
mere communication of an area’s characteristics and benefits. Consequently,
planning and promotional strategies are essential for going beyond acquiring
lasting competitive advantage given that film or television productions while
creating local development usually stimulate diverse specialist services non-
ascribable exclusively to the tourism sector with incentives to small businesses
and a contribution to the communication and enhancement of the local context.
The model of State intervention has introduced innovative initiatives for
local development, i.e. tax credits that constitute a form of funding for film
productions7, with non-negligible advantages in terms of system efficiency above
all concerning the sector’s capacity to attract investments, through its website
‘La Bussola del Cinema – Come girare film in Italia’. Areas in Italy which are
less familiar thus become more visible and enhanced with access facilitated to
State and Regional funding to boost film and other audiovisual productions
in support of producers and distributers. Such initiatives include funding for
locations indicated by the Directorate-General Cinema – Ministry of Cultural
Heritage, Activities and Tourism in collaboration with the Association of Italian
Film Commissions and Cineconomy.com – ‘Fondazione Ente dello Spettacolo’.
However, greater integration of public policies, above all in a regional context
would be essential to ensure that local identity becomes a productive factor and
that the State, local Authorities and Institutions become effective actors in the
process, supported by academic and professional knowhow. In recent years
Regions (such as Lazio, Piedmont, Friuli Venezia Giulia, Apulia, Tuscany and
Alto Adige) and local Authorities thanks to the Reform of the ‘Titolo V’ of
the Italian Constitution, have funded numerous initiatives for film production
tourism, using a portion of the local territory development allocated resources
to attract creative enterprises in the sector and for developing professionalism
at local scale, coordinated by the Italian Film Commission8.
5 Quite easily managed and linked with demand for new experience, is the desire to visit a
geographical context – as opposed to a place – boosted by the viewing of a film or TV production
that can be enjoyed all year round.
6 In contrast, unprofitable or even harmful initiatives can be put in place; a case in point is that
of participation in guided tours of the places selected as sets for the shooting of the film Un passo
dal cielo, organized by the Associazione Turistica Valle di Braies (Alto Adige).
7 Recently, the incentive was extended to the entire audiovisual sector including TV fiction and
website productions. These grants have gradually replaced traditional targeted funding coordinated
by the Ministry of Cultural Heritage, Activities and Tourism provided by the Fondo Unico dello
Spettacolo.
8 Many instances of cooperation have been set up between the State, Ministries, local Councils,
the Film Commission and production companies – encouraged by the positive dynamics of local
scenarios – in terms of best practice and bottom-up development.34 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
Further advantages derive from flexible tecnology in planning film
production tourism initiatives in which the autenticity of the places blends
with the film or TV settings representations, enabling the devising of creative-
cultural itineraries for the promotion of urban spaces, historic centres and
urban retail districts. The design and development of innovative information
systems combining the geographical specifics of a territory and films produced
there in order to promote film-induced tourism, represent interesting prospects
for the local Authorities, where lesser known tourist destinations will benefit as
well as larger cities which are characterized by a film production tradition but
not capable of generating spontaneously activities or partial activities, theme
related segments etc., associated with film production that favour integration of
the film production heritage with the already existent tourist offer9.
Exploiting the potential of an integrated tourism supply chain enables the
creation of an informative-consultational-strategic productive network. This
involves private and public sector actors operating in various contexts of the
segment, i.e. engaged in the launching of a specific product (film production
tourism) or territorial system (film and television production sets) thus
facilitating inter-enterprise relations – relative to the complementary needs
for services provided by partners for integration on a vertical scale – and
the communication of identity and a coordinated image of the territory10,
i.e. synergic processes to enable operators to consolidate and improve their
performance and to invest in the search for added value with respect to other
destinations. This results in competitiveness producing a spill-over effect on the
local economy with economies of scale, localisation and administration, lower
indirect costs, integrated productive process phases, the increment of technical,
marketing and financial services and a more rapid diffusion of technology and
effective quality control systems.
The spill-over effects in socio-economic terms are significant, albeit not
quite so easy to measure. However, assessment should be from a medium
term perspective taking into account factors such as the reinforcing of local
professional skills and competence, adequate territorial infrastructure to
support the film production chain (centres, cineports, districts), investments for
extra-regional productions in particular geographical contexts, the promoting
and rendering visible local cultural heritage and to increment flows in terms of
tourist presences.
9 Original tourist itineraries based on territory specifics (such as enogastronomic products or
the type of retail shop shown in film clips, film genres etc.), utilizing material already predisposed
for tours or similar initiatives (narrative texts relative to or scenes in the film), in line with North
American film-induced-tourism, in the tradition of territorial marketing.
10 Territory image, i.e. the total sum of opinions, ideas and impressions expressed relative to a
specific area.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 35
3. A Film Production Tourism CdP for territory enhancement and cultural
identity
A CdP can be defined as a synergic business strategy by means of which
an Association of operators act to promote a territory, make constructive
decisions and deliver specific services and products. Besides its reflecting
mission and declared value system and consequently, territory impact, a series
of characteristics can be identified that contribute predominantly to the success
of a niche such as film production tourism. Visiting the set of a film or television
production highlights the visibility not only of the local territory resources
but also the benefits deriving from their enjoyment. Resources include unique
attractions addressed to a specific target, within the framework of a self certified
quality system that creates added value for visitors by virtue of the fact that the
members of the Association enjoy the same brand benefits and conform to the
same rules. Therefore, if on the one hand the elements of success are made up of
an integrated communication strategy and by a protocol of efficacious, efficient
and effectively selective evaluation and control, on the other, such elements
will produce a positive ripple effect only in the presence of a strong sense of
cohesion and belonging by the members of the Association11.
In short, a Film Production Tourism CdP can catalyse the resources of a
geographical area towards a common vision in order to combine input with the
unique image of a specific cultural good charaterising the territory, guaranteeing
that quality standards are met and the environment safeguarded. An innovative
product responding to modern trends in the supply system and to the growing
specifics of demand, i.e. a unique experience is promised, tourist motivations are
enhanced satisfying their desire for quality, the system of territory development12
is enhanced and safeguarded and local economies are enriched.
Furthermore, creating a Film Production Tourism CdP sets in motion a process
of territorial regeneration, i.e. sustaining a certification culture of enterprises in
terms of safety, environment and the safeguarding of a particular landscape.
Synergies are optimised and impulse given to the use of new technologies for the
communication of a specific local product or brand. Thus an integrated quality
system, a virtuous circle and competitive market positioning is guaranteed by
continous improving of the process itself.
11 The Association of entrepreneurs engaged in building a successful film production destination
structured on film or TV set locations, should not be considered merely a stimulus to the shaping of a general
sense of belonging, or to sharing a common brand, but considered a means by which to create a series of
relations, cooperation and support with producers of goods and services and the residents. This formula
envisages useful offers for discovering attractions that trigger processes of identification of new segments of
demand, create needs and attract potential visitors before they themselves desire to visit the place.
12 Faster and more convenient transport system have reduced distances and a more sophisticated
culture of leisure has highlighted the importance of motives for travel. Although global factors and
mass consumption have relegated most tourist destinations to the mass categories of tourism, in
recent years, unexpected shifts in demand testify the desire for relations of a more exclusive kind.36 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
4. Organisational planning and modality of the Film Production Tourism
CdP
Designing a successful film tourism destination structured on a location for
a film or TV production is an extremely complex process involving networks
of partnerships from various sectors for multidisciplinary cooperation – from
geography to cultural economics, from literature to anthropology, from
sociology to urbanistics, from territorial marketing to practical experience –
in order to exploit the advantages deriving from the showing of a film or TV
fiction production.
Territory management strategies based on cooperation in a global world
represent a useful tool for challenging the rigours of international competition,
as an integrated approach can meet tourist expectations by presenting local
territories as an all-round involving experience13. This is even more relevant
in Italy as concerns the Film Production Tourism CdP, where the cultural and
landscape heritage, utilized in film and TV productions, is a great opportunity
for economic growth as long as competitiveness takes into account the logics of
aggregation and strategic alliances.
In this respect, the concept of destination as opposed to location takes on
a much wider connotation as it is based on demand. Perceived by tourists as a
complex, highly attractive hospitality zone14, destination, in particular in the
case of Film Production Tourism CdP, involves the contribution and interaction
of numerous actors to produce a unique offer or service15. Furthermore the
degree of satisfaction, the perception of a destination and tourist opinions
during and after their stay are the result of various components of the product-
service delivered, the uniformity, coherence and adequacy of which as concerns
territory resources, represent the goal of Destination Marketing, i.e. to generate
demand and enhance supply16.
Planning should therefore aim at innovative strategies to direct demand
towards new segments of attraction, using sustainable resources, based on
shared goals and vision and the definition of a Plan of Territorial Marketing
for promoting the specifics of local territory. This would favour cohesion17
13See Sciarelli 2007, pp. 7-10.
14See Martini 2002, pp. 67-111.
15 When the decision-making process on the part of a client is based on considerations of a
socio-cultural nature (i.e. status, attitude and personality and system of values) the specifics of
the place (i.e. the cultural, naturalistic-environmental-vocation or leisure time activities; territory
image) and economic factors (i.e. price, length of stay, income etc.), and above all oriented by film
or TV production locations.
16 See Sciarelli, Della Corte 2003, pp. 1-23. Besides operative objectives (i.e. defining the brand,
compiling a Plan of Marketing, benchmarking standards), Destination Marketing aims above all,
to create value for all the stakeholders, to manage long term relations with clients to create loyalty
(See Pencarelli 2009, pp. 1-34).
17 The goal is to create a logical process of intervention and a series of tools available to theA FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 37
and create value in and for the territory. If in the former case, an optimal
environment for enterprise is created offering a widespread sense of wellbeing,
security and trust, in the latter, destination appeal is incremented for new
residents, businesses and tourists with a resounding domino effect on the value
created. Sense of belonging is stimulated as well as the desire to invest, market,
produce and promote. This is possible by means of an integrated model of supply
that contemplates resource analysis, thus responding to the issues raised by
individual or collective local actors18. Consequently, stakeholder collaboration
is an essential element for achieving such objectives whereby the public sphere
regulates and promotes growth while the private sector predisposes, distributes
and sells the products-services19.
Planning a holiday destination in short, involves gathering information on
the needs and desires of tourists, e.g. their interest in film or TV production
locations, with destination potential based on the promise of something real
– after having enjoyed the beauty of a landscape20 or the emotion stemming
from a cultural event or hospitality enjoyed – and on the process of creation
and diffusion of destination appeal in order to create a virtuous circle between
the generation of the film images motivating the trip and the tourists’ sense of
satisfaction of expectations from their stay.
Evidently the natural and cultural resources should be evaluated in parallel
given that objective elements derive from the characteristic features of an area
while subjective reactions depend on the tourist’s observation of them. This
does not mean that perception determines the value of a landscape but rather
that the capacity to interpret and comprehend it derives from the rapport that
visitors create with their surroundings. Such symbiosis is an integral part of the
Film Production Tourism CdP value system which is based on the preservation
and requalification of local territory specifics, on protecting resources and
decision-making in common, thus constituting the foundations of the supply
process. Consequently, a tourism product is created by adapting resources to a
set target where enterprises joining an Association choose to share promotional
stakeholders, integrating or complementing components with the wider array of policies for local
government, within the framework of strategic planning, based on the analysis of the resources and
on the cooperation and participation of relevant actors.
18 Zucchetti 2008, p. 6.
19 To create optimal conditions for enjoyment of the territory, initiatives relative to tangible
and intangible components together with assistance for investors during and after settlement are
necessary. For example, the communication of appeal factors takes place by means of the diffusion
of perceived positioning not to mention through the advertising and promotion of territory specifics.
20 In recent years, the concept of landscape, revisited and broadened, in the past referred
exclusively to places and objects of unquestionable beauty and value (aesthetical, naturalistic and
historical), to preserve and enhance, without however, taking into account the geographical context
of reference, on the contrary fully perceived in film and TV productions. Consequently, a place
should not be considered merely for its exterior virtues but as an evolving organism subject to the
impact of natural and human factors over time, as well as that of relations created with individuals,
local Communities and habitat.38 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
planning and economic strengths by means of a unique, iconic brand21.
Evidently, success lies in the basic concept of product, made up of an original,
distinctive and genuine idea-concept and by a shared vision and mission that
confers to the members of the Association ideals, viability and future prospects.
In particular, the constitution of a Film Production Tourism CdP requires
initiatives aimed at increasing the perception of a tourist destination by defining
the most adequate communication mix for attracting attention both from
the outside relative to the potential of the area to highlight its competitive
positioning, to provide information relative to its projects and to favour relations
betweeen stakeholders at local scale and internally, where sense of belonging
should be reinforced by devising a model that reconciliates diverging interests
and stimulates participation in decision-making relative to intervention policies.
A model of integrated supply would certainly have positive repercussions in
terms of creating jobs, income and the protection and safeguarding of natural
resources, impacting at the same time, on the variables involved in the defining
of extent of regional competitiveness dependent mainly on the highest number
of inter-territory differences22. Furthermore, the potential of innovating
processes and products by using traditional and newly acquired knowledge
and benefiting from new forms of communication underpinned by relational
marketing would respond to an ever more informed and sophisticated kind
of demand, while the possibility of storing, processing and selecting quantities
of information would enable the setting up of advanced customer relationship
management initiatives, using Social Media Marketing23 tools to attract visitors
and to spark the collective imagination and enhance resources whose specifics
and uniqueness concur in constructing a model of integrated supply24.
Human resource management and a corporate culture system also consititute
fundamental variables in the image building process of the Film Production
Tourism CdP brand or trademark, as on the one hand, professionally trained
21 A particular advantage of being part of an Association is also that of belonging to a network
of small and medium size enterprises, privileging the specifics of one’s own organization in order
to win new segments of demand and developing the capacity for team work, accepting and
guaranteeing self regulatory norms and benchmarking standards not least by enhancing selected
facilities.
22 Montani 2005, p. 241.
23 The Film Production Tourism CdP through its corporate blog or social networking sites,
works on a one-to-one basis, bringing together poster and target. The content posted is interesting
and/or amusing and aims at hype and circulation of the same. An example of Social Media Marketing
is viral marketing through YouTube or other Video sharing websites, producing contagious effects
and therefore guaranteeing that the message reaches the highest number of user-consumers possible.
24 Destination Management Systems thanks to new technology platforms enable Destination
Management Companies, tourist operators and marketing channels to form networks and manage
information in an integrated and coordinated manner (i.e. cultural goods, performances, events,
enogastronomy, artisanship), optimizing the quality of communication and incrementing number
of contacts and thus the number of tourists choosing the destinations primarily because of their
setting linked with film and TV production sets.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 39
staff have a spill-over effect on the efficacy of external marketing actions and on
the other, the values of hospitality are an expression of the resident population
and the Institutions. Furthermore, if destinations that are capable of conveying a
system of unique values are those with the most appeal, the actors of the segment
will necessarily have to plan and devise initiatives that trigger unique emotions,
as the characterisation of the sensations experienced and the communication
of the distinctive factors of film and TV production locations confer greater
competitive advantage on the destination, within a technological, social and
cultural scenario that enables visitors to reach the most remote corners of the
world25. Through Associations in which the emotional factor predominates,
the system of relational management is made up of a close network capable
of communicating a unitary image of the various locations, given that their
proposals are the result of an integrated tourism offer.
5. Film Production Tourism CdP: a total quality integrated management
system for competitive advantage
The link between film or TV production tourism-locations renders tourist
perception of a resort as closely linked to the concept of sustainability (also
measurable by means of accredited international certification) and quality of
life26. Satisfying clients-tourists – more well-informed than ever relative to
potential alternatives and attentive to the quality-price ratio, to professionalism
and to degree of eco-compatibility – depends on services rendered, but also on
the degree of wellbeing perceived and de facto experienced. Tourist operators
therefore, have to aim for total quality of the process in terms of product-
service, environment, health, job security and ethics. Trends are moving towards
an integrated quality system27 which envisages optimal performance, and the
involvement of all stakeholders in the value chain (in the case of Film Production
Tourism CdP, the Association bases its strategic action on an attentive analysis
of potential positioning, brand connotation, degree of speciality intended and
level of differentiation compared to competitors).
A Film Production Tourism CdP, the expression of various types of
activities, privileges a system of quality that represents balanced stability
25 Destination Marketing strategies also borrow from Experience Marketing which uses
relational techniques for analysing levels of service and consumer satisfaction relative to the choice
of resort in order to delineate motivations and user perceptions – Destination Management support
also concerns strategic, organisational and operative decision making by means of which the
process of definition, promotion and marketing of products is managed to push balanced flows
of sustainable incomings adequate to the economic needs of the operators (Martini 2005, p. 118).
26 See Di Vittorio 2005, pp. 1-159.
27 Salomone et al. 2006.40 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
between demand, the needs of the local Community and the safeguarding of
resources from the perspective of profits in the short term period. In the long
term, wellbeing founded on economic, environmental and social sustainability
(i.e. organisational efficiency, credibility, availability, product uniqueness,
security, competence and professionalism, respect for the environment and
quality-price ratio) also has to be considered. Consequently, the total quality28
of the experience becomes a critical factor for the Association’s success also
by virtue of the fact that tourists playing their part in terms of performance
– given its emotional and personal character – render even more complex the
definition of expected and perceived value which if separated from the quality
planned and provided, generates client dissatisfaction29. This implies the need
for a system that integrates human and material factors and that develops sense
of belonging on the part of the Association’s members as the foundation for
significant relations with tourists-clients. Furthermore, communication relative
to aims of eco-compatibility and enhancement of territory specifics increases
the perception of a unique experience and the role of domino effect of product
image, destination, company and brand and contributes to the shaping of
lasting competitive advantage if the standard of service offered is maintained or
even improved30.
The motives leading a group of operators to create a Film Production Tourism
CdP are based on a system of self-certification approved by means of a Statute
and Regulations, in the same way that other forms of attestation reinforces
the communication of core client values and eco-compatibility. Consequently,
membership of a group, exalting and applying a managerial philosophy, is a
choice founded not only on needs of an economic nature but also on the desire
to showcase excellence, uniqueness and local identity through a quality brand.
The Association’s Charter of Regulations sanctions such commitment and
can be considered a preliminary self-assessment tool for verifying the respect
of mandatory minimum requisites of the Association in terms of standards
of service to benchmark, i.e. the individual company protocol of supply (i.e.
quality-enhancement of the resources and competitive advantage). Not only a
28 Quality performance requires a client-centred organisation geared towards continuous
improvement of processes and entrepreneurial levels, developed both bottom up with performance
measurement by means of indicators or values of accepted conformity and top down (leadership), in
which management are responsible for decision-making, guidance and support and the achievement
of goals. Therefore, a systemic management approach operating with efficacy (i.e. to respond to
client needs) and efficiency (optimal use of resources) is essential.
29 Given that expected quality performance is in reference to the standards that a client considers
adequate, the Association will need to address attention to client expectations as projects have to be
based on client needs and desires. In other words, planning has to respect performance goals fixed
during the phases of the design-production process or in that of service delivery (designed quality).
30 In this sense the Film Production Tourism CdP can be defined as an integrated system of
quality that triggers a virtuous circuit through upholding high quality standards of performance,
resource enhancement and lasting competitive positioning.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 41
contract, it is also a working manual indicating the commitment to deliver a
specific product-service and respecting the standards that guarantee the image
of the Association31.
Albeit a slight overlapping with the Statute is evident (e.g. issues relative to
aims etc.), the Charter of Regulations should be considered a tool of application
of the intentions declared in the Statute32 and for the grouping of mature areas
of tourism economy where the culture of hospitality is an integral part of the
local entrepreneurial system and where the planning capacity of the aggregated
supply is greater.
The Statute and Charter of Regulations guarantee the benefits from the
differentiation and functional specifics of the Film Production Tourism
CdP. In other words, a brand or trademark evocative of the close relation
between organisational mission and territory specifics, resource recovery and
enhancement and communication targeted above all at the construction of local
identity thanks to film or TV production locations. This also implies the project
design for enhancing a marginal territory in order to create a film production-
tourist vocation by means of integration dynamics between product promotion
and strategic positioning of the destination33. In particular, the model of the nine
31 Despite there being no specific regulations, the analysis of some case studies highlights the
presence of common content to include in a Charter of Regulations. Charters generally start with
a section dedicated to the value system of the product and contain assumptions, declarations,
guidelines and norms that define the commitment of an organisation towards client-stakeholders,
behavior criteria and responsibilities (roots in the territory and a culture of belonging, warm
relations and a predisposition for human contact, communication of a zest for life together with
a genuine product-service offered). The second section concerns members’ obligations and duties:
modality of membership (i.e. the necessary conditions to meet, financial obligations, regulations
for suspending participation or leaving the Association brand). The third is dedicated to the system
of quality and represents the core of the document, as it delineates the range of goods-services
and the relevant level of quality, respecting coherence with the territory values underpinning the
Association and its cultural, productive, landscape and natural environment identity. Basic criteria
that the members are expected to satisfy are also set out together with their verification process and
policies relative to brand name and logo. Furthermore, as the Association is made up of operators
from different sectors of tourism – which renders the definition of common standards for the
production-delivery of outputs difficult – the Statute could contemplate indexing specific sections
for similar facilities (restaurants, hotels, farms, B&B and sales and production consortia and for the
list of agrifood products and typical local dishes, the brand handbook and the deontological code).
32 Generally indicated in the Statute are: constitution and denomination (headquarters,
duration, object, functions, operative objectives activity zone, nature of supply); members of
the Association (Associates, admission procedures, obligations, withdrawal from membership
and exclusion); patrimony and contributions (income, funding, periodic contributions, financial
support, penalities); Association Boards (regular-particular-members’ assembley, deliberations,
appointments, Board deliberations, appointing President, Council of Auditors etc.); miscellaneous
regulations (changes to the Statute, transitory and amended regulations).
33 The risk is that of only a few far-sighted entrepreneurs who exploit opportunities for economic
development linked to forms of collective enterprise, in the absence of initiatives for spreading a
culture of cooperation and association between private sector operators and public Administrators,
above all in those areas which – despite the endowment of a naturalistic, architectural and historico-
cultural heritage – have not yet succeeded in expressing their full tourist potential.42 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
cognitive imperatives for an aspiring leader territory34 represents the strategic
macro-objective defined in the Action Plan for the divulgation of benchmarked
best practices and for information, training, control and monitoring.
The object of the phase of sensibilisation-information is to promote a culture
of welcome and hospitality, the enhancement of local identity, providing the
necessary information and recognising the specifics of a particular location
whereby tourism can contribute to its development35. Increasing the sense
of belonging is also extremely pertinent in order to spread best practices
of safeguarding resources36, presenting case-studies by means of thematic
seminars addressed to privileged targets to highlight how quality offers can
become economic initiatives. Only by means of analysing territory audits will it
be possible to construct a holistic vision of local systems37, through workshops
based on the European Awareness Scenario Workshop38 method to stimulate
participation in an aware and sustainable use of the specifics of film and TV
production locations39. This bottom up process reveals a shared vision and
needs, i.e. ineludible priorities of Public Management40. Subsequently the
phase of sensibilisation and training has the objective of rendering concrete
the results of the previous phase. Programmed residential courses and guided
tours are of the more relevant districts are an opportunity for experimenting
how to combine local hospitality and quality, to evaluate from best practice,
the locations on which planning and projects can be based. The final phase, i.e.
sensibilisation-control and monitoring, sums up on the one hand, outcomes of
previous activities illustrated by means of seminars, as testament to experiences
acquired through guided tours and courses and on the other, initiatives in place
and their impact on the territory41.
34 See Valdani, Ancarani 2000, pp. 29-34.
35 See Salvarani 2005, pp. 98-108.
36 In the areas in which the local economy has not yet reached its maturity stage, a culture
of hospitality has to be widespread in the local population, the Institutions and in the younger
generations as an element generating value within the quality tourist proposal together with the
development and enhancement of the cultural goods (in a vision in which even local enogastronomy
becomes a cultural good) and in the environment (Riccioni 2006, p. 128) of the Film-TV production
locations.
37 Romano et al. 2000, pp. 107-110.
38 The meetings addressed to politico-administrators, economic operators, technico-experts
and users-citizens in order to plan scenarios from which to select the most significant issues linked
to Film-TV production locations. The final phase envisages the groups discussing key issues in the
plenary sessions (See Alessandrini et al., 2006, p. 88).
39 Celant et al. 2009, p. 308.
40 See Salvarani 2005, p. 109.
41 This phase includes planning strategies of promotion, comunication and enhancement. The
former constitute the elements of the marketing communication mix (See Pencarelli 2009, p. 53)
and have the purpose of stimulating a more rapid purchase or one more consistent with demand for
particular products or services on the part of the guests or enterprises (Kotler et al. 2007, p. 713);
institutional communication consists in the positioning sought by virtue of the identity, mission,
guiding values and legitimacy in terms of economic, social, political and cultural reality (Basile et al.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 43
Promotional activities pursue the objective of directing tourists towards the
choice of a Film Production Tourism CdP, in order to foster lasting loyalty and
to increase and redistribute visits (staggering of demand)42 while institutional
communication aims at defining the image, the reputation, the identity, the
differentiation and positioning of a resort43. In order to use a methodology
founded on the cooperation and coordination of the operators who intervene
in the process of Destination Management, a Promotion and Communication
Plan is fundamental for the purpose of enhancing synergies deriving from the
aggregation process and to reinforce the efficacy of the message by introducing
a quality-guarantee component in visitor relations44. There is also a need to
limit an intuitional, non-reasoned and haphazard approach on the part of those
charged with defining the content of what they intend to communicate, both
as concerns mode and language45. Consequently, professional capacity and
creativity have to succeed in finding the most efficacious solutions, allocating
adequate resources to the film or TV production locations, assessment of which
is essential in calculating the effects of the scheme proposed by the Promotion
and Communication Plan. The function of the enhancement process is to
communicate the reputation and image of the territory, expressed through the
Association conveying territory identity, specifics, i.e. factors of attractiveness46,
on the basis of the initiatives envisaged in the Plan of Enhancement, triggering a
virtuous circle of satisfaction-appeal-value to create appeal outside the territory
of reference and satisfaction for the clients within, together with added value
for the area47.
Taking into account the above considerations, a close relation emerges
between the private element of the Film Production Tourism CdP (centred
on the needs of the marketplace and profit making) and that of the public
sphere with its focus on the common weal and the creation of an innovative
offer structured upon a series of synergic actions to create growth and local
development.
2002, p. 51); enhancement refers to the series of actions for diffusion put in place by stakeholders
to increase the value of the tourist product, a foundation element of Film Production Tourism CdP,
coherent with the offer as a whole (See Pencarelli 2009, pp. 116-117).
42 Basile et al. 2002, p. 62.
43 Ivi, p. 54.
44 The purpose of a Promotion and Communication Plan is to identify the public-target, to
define objectives and strategies, to identify the means necessary, to compile the budget, to plan the
promotional mix and to devise and put in place communication and to assess the efficacy of results
achieved (Lombardini 2009, pp. 48-49).
45 Basile et al. 2002, pp. 141-207; Pascucci 2009, p. 149.
46 See Montella 2009, p. 75.
47 By means of which the Plan of Territorial Marketing (internal and external) is put in place.
The former has the purpose of attracting and generating the trust of clients from outside; the latter
that of enhancing the marketing of the local heritage and creating loyalty and satisfaction amongst
the target users.44 FRANCESCO CITARELLA, FRANCESCA SORRENTINI
6. Tourism: an important factor for the development of regional territory
The radical changes in progress in advanced societies today are provoking
new trends in tourism consumption and leisure time activities and resulting
in a much more complex tourism system as a whole, above all in terms of
competitiveness. Short term but frequent trips based on criteria not linked
to status or income but rather to a preference for dynamic holiday lifestyles
are being favoured while the propagation of modern technologies to support
consumption processes also tends to encourage a growing awareness of territory
identity. The outcome of routine activities and new cultural experiences and the
multiplication of thematic tourism defined by product or target, respond to the
demand for the unique opportunities offered by local tourism48.
In the context of such a wide array of motivations, the choice of visiting
places of interest brought into the limelight by films or TV fiction series suggests
consumer behaviour analysis in terms of potential positive relations between
cinema, tourism and territory. Prior to the mid 1990s, the cinema exerted little
or no effect on promoting tourism, subsequently however, the new trend forged
strong links between territory and film productions. With their impressive
representations of places, films have become a tool for knowledge acquisition
and rediscovery of the resources and places of natural and historico-cultural
interest. Film Commission support and funding are also available to producers,
i.e. services and resources for incentives for the various productions49.
Therefore, the desire for in-depth knowledge of an area on a film spectator’s
part can also be spurred by various factors: the natural and architectural
specifics of the location, which in the meantime, has become a point of
attraction and acquired an identity50, the process of empathy which is triggered
in individuals when stories in which they can identify themselves are recounted,
impacting directly or indirectly on their feelings and the greater credibility of
the destination by virtue of the notoriety of the actors in the film51. As only
certain features can transform a location into a successful tourist destination,
given that the impact of an audiovisual product on decision-making emerges at
varying levels of intensity52, local operators have to plan promotional strategies
on their film website for the destination in order to obtain a holistic effect, i.e.
a lasting competive advantage, which go beyond the mere sum of incidental
benefits.
48Landini 2007; Celant 2009; Minguzzi, Solima 2012.
49Nicosia 2012, p. 96.
50 Riley, Van Doren 1992; Kim et al. 2006.
51 Connel 2012.
52 According to some researchers (di Cesare, Rech 2007) if the phases of tourist decision-making
are distinguished by desire, choice of alternatives and final decision, the influence of audiovisual
productions tends to diminish, in the sense that it becomes support for more relevant motivations.A FILM PRODUCTION TOURISM ‘CLUB DI PRODOTTO’ TO ENHANCE TERRITORY COMPETITIVENESS AND CULTURAL IDENTITY 45
As evidenced, the case of Basilicata a genuine melting pot of preserved rich
natural resources, picturesque hamlets and unexplored places, has its symbolic
strong points of reference in Maratea, the Metapontine Coast and Matera (‘I
Sassi di Matera’ in particular). The attraction of a territory as such, demands
perception by the visitor as a structured tourist destination, i.e. capable of
offering more that just a simple film production set, but rather, dealing with
specific issues to avoid the risk of deluding expectations and creating a hostile
climate on the part of the local residents. The audiovisual slot, could thus
enhance the Region’s visibility and positioning in terms of tourism. Besides
attracting visitors and encouraging the return of former tourists, prolonged
stays, word of mouth recommendations and place marketing would no doubt
have excellent results. Notwithstanding, to achieve a similar circuit demands
sustained coordination in terms of production requirements, geographical
scenario potential and relevant opportunities for local stakeholders. It is from
this perspective that our study proposes the design of a specific Film Production
Tourism CdP for this particular area to promote and enhance the settings used
as film production locations basically by putting on the network, structures
capable of improving both the level of wellbeing of local communities and of
responding to the demands of the current tourism market seeking ever more
specific and qualified destinations.
7. Trends in tourism in Basilicata: transformtions and perspectives
Basilicata with its patrimony of characteristic natural and cultural
resources53, is a heritage representing past, present and future, but one needing
to be protected and enhanced54. In global competitive terms, distinguished by
unexpected change and by a growing degree of complexity both as concerns
tourist demand (diverse and ever more sophisticated needs) and of supply
(greater professionalism, inter-firm cooperation in a vertical sense, between
suppliers and clients, and in a horizontal sense, between competitors), local
Institutions should adopt strategies capable of responding rapidly to market
momentum oriented towards the search for new areas to explore or stimuli
53 Historico-cultural elements consist of: archeological, demo-etno-antropological, artistic
and natural museums, art galleries, literary and archeological parks, medieval castles, towers,
fortresses and manors and their remains, a UNESCO World Heritage Site (I Sassi di Matera and
the Parco delle Chiese Rupestri), the heritage of sacred art (cathedrals, hypogeal churches, frescoes,
sculptures paintings, including the frescoes of the Church of San Donato a Ripacandida) and not
least, appreciable immaterial resources such as festivals, rituals and customs.
54 This well structured composite territory comprises 131 Comunes rich in cultural elements,
but lacking in well-defined local tourism systems that conform to a geographical and thematic
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